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Romance

Saline is Dead Hazards' debut LP featuring 13 songs that play with themes like disillusionment and detachment and hold sounds ranging from raw sludge to rock-operatic passages. Saline brings a mixture of fuzz, colliding melodies, and low strings wrapped in melancholy, with a nod to 80s-90s heavy metal and alternative. 

Prime

Took A Loan

Anywhere that you go
Is where the sun goes now so it can meet the sand
But you don't see the rising
Or the brightness in your wake that it had planned
You don't know your greatness
Or the weight of your heart within your hands
See shallow depths beneath you
And ignore the beauty hidden within your sands

Haunted
Break the spell now
Want it
More than you know
Your loved now
Just see yourself through me

Honey, please see yourself through me, girl
Won't you be a little more easy on you, please
Please, please
Love through me

Your wings were clipped before me
And the scars you now wear are on your sleeves
Then you built a house of ire
And hid your wings in a box up in the eaves
Now it's hard to trust their graces
When you've taken far too many on the chin
But I want to take your hand now
And show you that those wings can fit again

Haunted
Break the spell now
Want it
More than you know
Your loved now
Just see yourself through me

Honey, please see yourself through me, girl
Won't you be a little more easy on you, please
Please, please
Love through me

Love yourself through me
Love yourself through me
Love yourself through me
Love yourself through me

Honey, please see yourself through me, girl
Won't you be a little more easy on you, please
Please, please
Love through me

You don't know your greatness
You are a diamond hidden just beneath in the sand
You don't know your greatness
But honey, I'll show you now just take my hand

See Yourself Through Me

“That Is How” is a soft, bittersweet breakup song. 

Produced in a minimal-wave style with slow, romantic energy — somewhere between a lullaby and a quiet confession.

Lyrics, vocals, and concept by S̅k̅u̅f̅f̅e̅r̅l̅a̅n̅d̅ project

Thank you for listening.
If this made you feel something — I’m glad. That’s all it’s here to do.

That's How

Guitars: Clay Willis
Cello: Milo Deering
Drums: Josh Rodgers
Bass: Pete Miller
Keyboards: Bob Patin
Backup Vocals: Julie Laverty, Spencer Brochard
Vocal: Will Montgomery
Engineering: Paul Osborn @ Audio Dallas
Written & Mixed by Will Montgomery

God Left The Chat

To the memory of the wonderful Roos.

Ian Collins @ian-211 helped a lot with the strings, piano, drums and production.
________________________

Rose, the story is being told that you won’t get old
I know it’s hard to see but there’s a light behind the trees, Rose
Your daddy was a friend of mine, though it’s been a long long time
Before the seasons changed and plans were rearranged

Like a seagull in the storm, you’ll take your lonely course
Ahead of the swarm, struggling with proud force
Despite your tattered coat your soul will stay unharmed and reach the sky

Solo

Little Seagull in the storm, with confidence and love
You will live on, down here below and up above
Despite your tattered coat your soul will stay unharmed and reach the sky

You don’t need to believe, but while the others grieve
Their love will guide you through and there’s one who’s waiting for you, Rose

Cellar Aged Wines

Rose (Seagull In The Storm) - with Ian Collins

Echo

Recorded at One on One Recording Studio in North Hollywood, by the Instrumental Casting Orchestra, with Ruslan Biryukov (cello soloist) and Dustin McKinney (trumpet soloist).

Certain musical patterns are shared among all of humanity, transcending geographical and temporal boundaries. This selection of early spiritual songs originating from the North American continent exemplifies this remarkable unity. Whether it be the music of indigenous peoples displaced by European colonists, the religious songs adapted from folk songs of European origins, the poignant spirituals of the enslaved forcibly brought to America’s shores, or the hymns sung by impoverished rural Southerners, humanity expresses hope through their shared language of music.
This orchestral suite opens with a rendition of a Lakota lullaby titled, “Čhaŋté Wašté Hokšíla (My Kind-Hearted Boy)”. This then transitions into a New England colonial rendition of the traditional song “Wayfaring Stranger”. The song’s sentiment of constant journeying, being a stranger in a strange land yet lifting the eyes in hope toward the promise of a better home, links the stories of all who reside on this continent: European immigrants fleeing oppression, indigenous communities forced upon trails of tears, and African people enslaved against their will.
From this wayfaring song that links them all, a lone trumpet introduces the melody, “I Wade the Water to My Knees”, a traditional ring shout song that recalls the historic 1803 rebellion and subsequent mass suicide at Dunbar Creek on St. Simons Island, Georgia. The lyrics of this call-and-response shout song bring this powerful imagery to life:

I wade the water to my knees.
I’m gonna pray, gonna pray.
I wade the water to my knees.
I’m gonna pray til I die.

Lord, the water’s so cold…
Til my body but not my soul…
I’m gonna sink and never rise…
Won’t rise now but don’t know when…
With my faith I’ll rise again…

Following a brief harmonic transition, a faithful orchestration of “Wondrous Love” is presented. The harmonies are accurately reproduced from those found in the Sacred Harp tunebook of 1844. This distinctly American tradition of harmony and singing-style originated in New England during the late 18th century and was subsequently codified in the aforementioned tunebook, published in the American South.
After this rugged rendition of “Wondrous Love” comes “Idumea”. The melody was initially composed by Ananias Davisson in 1816. Subsequently, it was paired with Methodist lyrics (authored by Charles Wesley in 1753) and included in the shape-note hymnal Southern Harmony in 1835. The hymn was further incorporated into the Sacred Harp collection in 1844.
At long last, our journey culminates in a seamless fusion of the melodies from “Idumea” and the Lakota Lullaby that began this musical narrative — once more, illustrating the striking commonalities shared in the music of our diverse heritages.

See the music video at https://youtu.be/ULHZyvr3c4c?si=Xr0_W5ZFKoQ2nkg9

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Spiritual Songs of the New World (Studio Recording)

A timeless rocker cleverly written intertwining the hazards of driving with the ups and downs of love. Hank uses all 4 lanes of the interstate and them some with his steady classic rock n roll rhythm, chiming chorus guitar, and an out of nowhere guitar lead solo using open scales and his stock tremolo bar. Almost two songs in one, the climactic second half finale brings Hank's heartfelt pledge of love sung over a beautiful chord progression filled with lush string arrangement which seems to be echoing that steady clicking, humming sound of the lonesome interstate, Warning, this song stirs up emotions just below the surface of those who know love all too well.

The Long Haul

Well, He's got the highway to your heart
I got to come up the rocky way
He jumped ahead from the start
I'm right in second baby that's OK
Because, I'm in it for the long haul
I'm in it for the long haul now baby

He's layin' rubber in the top end
but it ain't all about RPMs
My eighteen are gonna keep on chuggin'
I'll get to you baby no matter what I'm luggin'
cause, I'm in it for the long haul
I'm in it for the long haul now baby, 

When you're in love you better not speed
You might pass by somethin' that you really need
You need somethin' baby built to last
to carry love's heavy load
Because a lot of things can happen baby
when you're out on that open road

You get your hopes up high but love comes down crashin'
You try it again but the same thing happens
Sooner or later you're gonna' get tired of bein' bumped around
That's when I'm gonna' be ready baby, just pullin' into your town
 
I know you're lookin' for Mr. Right
not those one-night romeos
Someday you'll see me in a different light
and that's the day I'll pull this rig off the road
Because, I'm in it for the long haul
I'm in it for the long haul now baby
Long haul, baby
Ohhh yeah, I'm in it for the long haul now baby

I'm in it for the long haul
I'm in it for the long haul 
I'm in it for the long haul now baby Ow

When the bridge is out, 
ohhh! there ain't no doubt
I'll find a different route
I'll be there by the mornin' yeah

Through the pourin' rain
No matter how steep the grade
I'm gonna' keep makin' my way to you baby

I'm in it for the long haul
I'm in it for the long haul
I'm in it for the long haul now baby
Baby, baby baby baby
Baby, baby baby baby
Long haul
Baby, baby, baby baby
Baby, baby, baby, baby
Hold on, It won't be long
Ohhh! I'm in it for the long long haul

The Long Haul

This work was composed specifically for The Viola Commissioning Circle (VCC) Composer Prize based in London.

***
🎵 Title: Tango in the Rain
🎼 Composer: Michael Herter

🕒 Duration: 03:34
🐢 Tempo: Medium
🎻 Genre: Tango / Classical / Neoclassical
🎧 Mood: Romantic, Emotional, Poetic
🎬 Video: 

📝 Description

"Tango in the Rain" sweeps you into a world where every drop of water becomes a heartbeat and every note a whispered promise. Picture a cobblestone street drenched under a silver glow, footsteps echoing as violin and piano entwine in a passionate embrace. The sultry melody of the violin weeps with longing, while the cello’s warm timbre pulses like a lover’s steady breath. The piano’s chords glisten — each keystroke a raindrop dancing on your skin.

As the storm intensifies, the quartet’s rhythm tightens: viola strokes snap like lightning, and the cello’s low-register whispers anchor you in a moment of shared vulnerability. The interplay of solo lines and lush harmonies evokes a stolen midnight rendezvous, drenched in longing and defiance. You can almost feel the dancers’ wet shoes sliding across the pavement, their bodies in perfect tension, surrendering to the music’s electric current.

Here, sorrow and joy swirl together, creating a tapestry of desire that is at once urgent and tender. "Tango in the Rain" isn’t just a piece — it’s an invitation to lose yourself in a torrential romance that refuses to let go.

🎼 Key: d-moll | Time Signature: 4/4 | Tempo: Varies bpm

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🙏 Thank you for listening!

See Yourself Through Me

Mafew Van de Maxville